The Mahanavami Dibba is a monumental structure in the Vijayanagara Empire, particularly associated with the reign of Krishnadevaraya. It is located in the Hampi ruins and holds great significance in the history and culture of the empire.
- Religious Significance: The Mahanavami Dibba was used during the Mahanavami festival, an important religious celebration in the Vijayanagara Empire. The king would observe this festival to symbolize his divine right to rule, marking the occasion with royal processions, dances, and offerings.
- Architectural Marvel: The structure itself is a grand stone platform adorned with sculptures and inscriptions, demonstrating the architectural skills of the empire. The Mahanavami Dibba also symbolizes the unity between political power and religious devotion during the reign of the Vijayanagara kings.
- Cultural Importance: The site also serves as a testament to the cultural and political prosperity during Krishnadevaraya's reign, showcasing the integration of art, religion, and governance.
Thus, the Mahanavami Dibba stands as a symbol of Vijayanagara's cultural and political greatness.
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
Analyse the relationship between the Mughal empire and its artisans.
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
How did the crafts in the karkhanas reflect the cultural diversity of the Mughal empire?
The imperial karkhanas
Bernier is perhaps the only historian who provides a detailed account of the working of the imperial karkhanas or workshops:
Large halls are seen at many places, called karkhanas or workshops for the artisans. In one hall, embroiderers are busily employed, superintended by a master. In another, you see the goldsmiths; in a third, painters; in a fourth, varnishers in lacquer-work; in a fifth, joiners, turners, tailors and shoe-makers; in a sixth, manufacturers of silk, brocade and fine muslins …
The artisans come every morning to their karkhanas where they remain employed the whole day; and in the evening return to their homes. In this quiet regular manner, their time glides away; no one aspiring for any improvement in the condition of life wherein he happens to be born.
How did Bernier’s description reflect the economic significance of the karkhanas in the Mughal empire?
The following journal entry appears in the books of Latvion Ltd. :
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